FiRe2: a Call for a Film Repository of Technical Data and Memories for Photo and Movie Restoration

Alice Plutino; Arianna Crespi; Giulia  Morabito; Beatrice Sarti; Alessandro Rizzi

doi:10.6092/issn.2280-9481/13106

Autori

Alice Plutino University of Milan https://orcid.org/0000-0002-6749-0783

Alice Plutino obtained a PhD in Computer Science at University of Milan (2021), where now works as Research Fellow. Her research interests are: Color Science, Colorimetry, Image Enhancement, Image Digitization and Archiving, with a particular interest in Cultural Heritage applications. She is author of the book “Tecniche di Restauro Cinematografico” edited by Dino Audino and of several journal and conference papers of national and international relevance. She is Adjunct professor at Università degli Studi di Milano and Centro Sperimentale di Cinematografia, teaching digital film restoration and digital media conservation. She has been part of the Organining Committee of many national and international conference, she is Associate Editor of Color Culture and Science Journal and member of the Italian color group (Gruppo del Colore).
Arianna Crespi University of Milan

After a Bachelor degree in Physics, she graduated in Cultural Heritage Conservation Science. She’s a maths and physics teacher and the co-creator of Photo FiRe2, the database for film restoration developed during her master thesis project.
Giulia Morabito University of Milan

After the master degree in Cultural Heritage Conservation Science, currently she is a PhD student at the departement of Earth Science at the University of Milan. Her research interests range from the study and restoration of photographic and cinematographic material and the development of new analytical techniques for the material investigation.
Beatrice Sarti University of Milan

Beatrice Sarti is currently a PhD student at the University of Milan (Italy) at the Department of Computer Science, after obtaining a Master degree in Cultural Heritage Conservation Science. She performed a master degree thesis in collaboration with the Xlim research institute (Poitiers) concerning with the Hyperspectral Imaging characterization for pigment identification on ancient paintings. Her PhD research is focused on film restoration with a particolar interest in Chemical and Physical Diagnostic Analyses, Data Digitization, Image Processing and Enhancement.
Alessandro Rizzi University of Milan https://orcid.org/0000-0001-6240-4383
Alessandro Rizzi is Full Professor at the Department of Computer Science at the University of Milano (Italy), teaching Multimedia, Colorimetry and Film restoration. He is doing research since 1990 in the field of digital imaging with a particular interest on color, visualization, photography, HDR, VR and on the perceptual issues related to digital imaging, interfaces and lighting. He is the head of the MIPS Lab at the Department of Computer Science. He has been one of the founders of the Italian Color Group, Secretary of CIE Division 8, IS&T Fellow and Vice President. In 2015 he received the Davies medal from the Royal Photographic Society. He is co-chair of the IS&T Conference “Color Imaging: Displaying, Processing, Hardcopy and Applications”, Topical Editor for “Applied Color Science” of the Journal of Optical Society of America A, Associate Editor of Journal of Electronic Imaging, member of several program committees of conferences related to color and digital imaging, and author of about 400 scientific works.

DOI:

https://doi.org/10.6092/issn.2280-9481/13106

Parole chiave:

Film Restoration, Film Database, Film Colors, Sensitometry, Audiovisual Memory

Abstract

Throughout history, thousands of different kinds of film formats, emulsions and colour systems have been used, to reproduce natural colours and as mean of expression for specific characters and scenes. In recent years, the advent of digital mediums has improved post-production technology and the film restoration process. Moreover, the support migration exposed different issues, such as colour reproducibility in digital systems that present the same problems as those posed by analogue. Furthermore, the lack of physical information on film dyes, emulsions and sensitivity renders the reconstruction of different film process colours impossible, and so too their comparison with the analogue or digital copies. In this contribution we aim to increase film experts’ and restorers’ awareness of colour reproduction problems that always affect the practice of digitization and digital restoration, and we propose the contribution of Fire², an open access database of cinematographic and photographic technical data and materials, to support the work of conservators, restorers, and researchers.

FiRe2: a Call for a Film Repository of Technical Data and Memories for Photo and Movie Restoration

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